Steve Schwartz <[log in to unmask]> wrote:

>My concern is that not that Wuorinen is barred, but that ANY obscure
>work, even the obscure work of otherwise popular composers will be
>ignored, since at this point we're very close not just to the top
>fifty composers, but to the top fifty pieces. No Bruckner but the
>fourth and ninth symphonies, the last three Tchaikovsky symphonies
>but not the first three, the last three Dvoraks, and so on. How
>friggin' boring.

I agree, yet my question is, what is it that produces a culture where
only the top 50 "sell?" Some suggest it is the notion of that only the
familiar sell.  So why are there so few pieces that are familiar?

It has always seemed to me that any "business" needs to offer new products
to retain market share.  That is the way it is with popular music.  Why
is it not so with classical music...or is that why (assuming it is a
correct assumption) classical music is losing market share?

Karl

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